By Lynn Venhaus

Laying the foundation for the palace intrigue in Shakespeare’s tragic “Hamlet,” the original play “Elsinore” is an interesting interpretation of those familiar characters in an affecting prequel.

Known for its bold choices, local theater company Chorus of Fools has mounted artistic director Eric Satterfield’s 2021 play updated by co-playwrights David Nonemaker and Satterfield, who also directed.

How did Denmark become so rotten? Satterfield wants answers and his strong cast will tell a more nuanced story.

Through compelling performances, this ensemble delves into the unraveling of the royal family and how the political scheming escalates, which eventually leads to the kingdom’s instability and headed to war with Norway.

Most remarkable is how much the language sounds like the Bard in tone and tempo. Smartly written with style, wit and theatricality, “Elsinore” plausibly imagines the backstories.

The playwrights obviously have read and studied Shakespeare, presenting a new angle on one of literature’s most influential works. After all, “Hamlet” has been adapted in many ways (“The Lion King,” anyone?)

A rewarding aspect is its exploration of many of the same universal themes, such as making one’s mark, duty, honor, loyalty, destiny and revenge. However, in these earlier incarnations, character transformations and motivations give the actors a juicy challenge.

We may think we know these characters, but by the time Shakespeare crafted them, they had been developed by circumstances, revealing their true nature.  In the prequel, they are forging their paths.

While the prince of Denmark has always been fascinating, in the before times he is secondary to Claudius, who has the most complex character arc. Joseph Garner, one of the region’s most versatile performers, has been a formidable stage presence in supporting roles. As the king’s brother and emissary, he delivers a dynamic characterization rich in detail.

Initially, a dedicated selfless royal, Claudius undergoes personal tragedies and moral dilemmas that lead to his stunning power-grab as he ascends to the throne while breaking up his brother’s family.

King Hamlet is not a benevolent ruler. John Wolbers portrays him as imperious and devious, and with his son Hamlet, he is demanding and impatient. The young heir is finding his way, clashing with his father and being more comfortable around his uncle.

He starts brooding, and Andre Eslamian gives the intense, rebellious lad an emotional depth while conveying quicksilver moods. He’s confused and angry in interactions with his father, merry with his goofy friends Rosencrantz and Guildenstern, playful with his cousin Claudius, and tender with Ophelia.

His father is not fond of his childhood pals, and Xander Huber, as Rosencrantz, and Zach Pierson, as Guildenstern, display why. As the bumbling buddies, they demonstrate sharp comic timing and play off each other well, adept at slapstick.

Chuck Brinkley, equally good at comedy and drama, adds moments of daffiness to the garrulous Polonius, who is Claudius’ trusted advisor. But he’s capable of conniving. (And what a trouper — he really did break his ankle, hence the assistance.)

Madness has not yet affected major players. Ophelia becomes a handmaiden for Queen Gertrude. She is an intelligent, curious girl, devoted to her father Polonius and gives her heart to Hamlet. Hannah Geisz plays her as a spirited, virtuous member of the court – but one who won’t be an afterthought.

As Gertrude, Jocelyn Padilla is an obedient wife and dutiful mother. She is hurt by the king’s gruff treatment of her, and after his untimely death, brightens under the gaze of Claudius.

Huber and Pierson each fill another role – Huber is Lord Waldemar and Pierson as young Claudius. Joe Kercher handles three brief roles – Lord Olaf, Laertes and a hooded figure. Rose Reiker is Osric, a courtier and messenger.

Claudius, who becomes a widower after his loving wife Colette (Lexie Johnson) and their beloved son Claudius (Zach Pierson), died in a shipwreck, has somewhat of a reset.

He has lost faith after those devastating losses, becoming bitter and angry. He disagrees with his brother’s decisions and ruthlessly sets a course to takeover.

“Hamlet” was Shakespeare’s longest play, and this version is in three acts, with two intermissions. The second act resumes 14 years later, and the third is one year after that.

The small company, with a modest budget, cleverly depicts the castle’s throne room, Claudius’ family sitting room, and the orchard where King Hamlet often napped. Vickie Delmas worked on the set design with Satterfield, and took care of props..

With its “Downtown Abbey” inspired Edwardian setting and period costumes, “Elsinore” creates an insular world where loyalty is demanded while secrets and lies are part of the growing corruption.

Costume designer Celeste Gardner paired different textures together to appropriately outfit the characters, with her work particularly noteworthy for Ophelia and Gertrude.

Bradley Rohlf’s atmospheric lighting design highlighted an impending doom, while giving the ghosts an other-worldly illumination. Satterfield’s outstanding sound design included imaginative needle drops and a regal music score to reflect the spreading darkness.

Other contributors were Ryan Lawson-Maeske, fight choreographer; Jen Kerner, accessibility consultant; Tress Kurzym, intimacy director; and Nikki Pilato, dramaturg (and also assistant director). Moira Healy was the stage manager.

With a castle community sensibility, the savvy cast transported us to a troubled time that has been examined through the ages, and managed to engage us with different, interesting angles. They skillfully conveyed Satterfield’s and Nonemaker’s intentions in a smart, entertaining presentation.

Chorus of Fools presents “Elsinore” Thursdays through Saturdays at 7:30 p.m. from Oct. 9 through Oct. 19 at The Greenfinch Theatre and Dive Bar, 2525 S. Jefferson. For more information: greenfinchstl.com/events